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Chronique D'hiver Extrait de la publication “LETTRES ANGLO-AMÉRICAINES” série dirigée par Marie-Catherine Vacher LE POINT DE VUE DES ÉDITEURS Trente ans après L’Invention de la solitude, Paul Auster pose sur son existence le regard du sexagénaire qu’il est devenu. Bien loin, cependant, du journal intime ou du classique récit autobiographique, cette Chronique d’hiver aborde la méditation sur la fuite du temps sous l’angle du compagnonnage que tout individu entretient avec son propre corps. C’est en effet de respiration, de sensation, de jouissance ou de souffrance, d’épiphanies charnelles ou de confrontations plus ou moins traumatiques avec la matière du monde qu’il est question à travers l’évocation, à la deuxième personne, d’un simple petit Américain du nom de Paul Auster, né dans l’immédiat après-guerre, et requis d’apprivoiser les espaces et le temps qui lui ont été impartis. Dans ces pages aussi sincères que retenues, Paul Auster se décrit moins en littérateur qu’en acteur convoqué sur la scène troublée de l’existence pour y incarner, à son tour, toute l’ardeur des passions humaines. De cet homme-cicatrice dont le corps exulte ou somatise, de ce fils hanté par la mort prématurée de son père et tourmenté par le destin chaotique de sa mère, de l’heureux citoyen de Brooklyn, époux et père aujourd’hui comblé, de cet héritier d’une lointaine Europe, amateur de baseball, fumeur invétéré et romancier fécond, de cet homme, enfin, qui souffre de ne pouvoir ou de ne savoir pleurer, le lecteur entendra ici le “grain de la voix” surgissant du savant puzzle où se déconstruit toute représentation univoque du moi afin que se produise, sous le signe d’une humanité partagée, la plus loyale des rencontres. Extrait de la publication PAUL AUSTER En France, toute l’oeuvre de Paul Auster est publiée par Actes Sud. Dernier titre paru : Sunset Park (2011). DU MÊME AUTEUR AUX ÉDITIONS ACTES SUD TRILOGIE NEW-YORKAISE : – vol. 1 : CITÉ DE VERRE, 1987 ; – vol. 2 : REVENANTS, 1988 ; – vol. 3 : LA CHAMBRE DÉROBÉE, 1988 ; Babel no 32. L’INVENTION DE LA SOLITUDE, 1988 ; Babel no 41. LE VOYAGE D’ANNA BLUME, 1989 ; Babel no 60. MOON PALACE, 1990 ; Babel no 68. LA MUSIQUE DU HASARD, 1991 ; Babel no 83. L’ART DE LA FAIM, 1992. LE CARNET ROUGE, 1993. LE CARNET ROUGE/L’ART DE LA FAIM, Babel no 133. LÉVIATHAN, 1993 ; Babel no 106. DISPARITIONS, coédition Unes/Actes Sud, 1994 ; Babel no 870. MR VERTIGO, 1994 ; Babel no 163. SMOKE/BROOKLYN BOOGIE, 1995 ; Babel no 255. LE DIABLE PAR LA QUEUE, 1996 ; Babel no 379. LA SOLITUDE DU LABYRINTHE (entretien avec Gérard de Cortanze), 1997 ; Babel no 662, édition augmentée. LULU ON THE BRIDGE, 1998 ; Babel no 753. LE NOËL D’AUGGIE WREN, Actes Sud Junior, 1998. TOMBOUCTOU (coéd. Leméac), 1999 ; Babel no 460. LAUREL ET HARDY VONT AU PARADIS suivi de BLACK-OUT et CACHE-CACHE, Actes Sud-Papiers, 2000. LE LIVRE DES ILLUSIONS (coéd. Leméac), 2002 ; Babel no 591. CONSTAT D’ACCIDENT (coéd. Leméac), 2003 ; Babel no 630. HISTOIRE DE MA MACHINE À ÉCRIRE (avec Sam Messer), 2003. LA NUIT DE L’ORACLE (coéd. Leméac), 2004 ; Babel no 720. BROOKLYN FOLLIES (coéd. Leméac), 2005 ; Babel no 785. DANS LE SCRIPTORIUM (coéd. Leméac), 2007 ; Babel no 900. LA VIE INTÉRIEURE DE MARTIN FROST (coéd. Leméac), 2007 ; Babel no 935. SEUL DANS LE NOIR (coéd. Leméac), 2009 ; Babel no 1063. INVISIBLE (coéd. Leméac), 2010 ; Babel no 1114. SUNSET PARK (coéd. Leméac), 2011. En collection Thesaurus : ŒUVRES ROMANESQUES, t. I, 1996. ŒUVRES ROMANESQUES ET AUTRES TEXTES, t. II, 1999. ŒUVRES ROMANESQUES, t. III, 2011. Titre original : Winter Journal Éditeur original : Henry Holt and Company, llc, New York © Paul Auster, 2012 © ACTES SUD, 2013 pour la traduction française ISBN 978-2-330-02042-2 © LEMÉAC ÉDITEUR, 2013 pour la publication en langue française au Canada ISBN 978-2-7609-0889-5 PAUL AUSTER Chronique d’hiver traduit de l’américain par Pierre Furlan ACTES SUD Extrait de la publication Tu crois que ça ne t’arrivera jamais, que ça ne peut pas t’arriver, que tu es la seule personne au monde à qui aucune de ces choses n’arrivera jamais, et pour- tant, l’une après l’autre, elles se mettent toutes à t’ar- river, exactement comme à tout le monde. Tes pieds nus sur le sol froid au moment où tu sors du lit et vas jusqu’à la fenêtre. Tu as six ans. Dehors, la neige tombe et les branches de l’arbre dans le jardin derrière la maison sont en train de devenir blanches. Parle tout de suite avant qu’il ne soit trop tard, et puis espère pouvoir continuer à parler jusqu’à ce qu’il n’y ait plus rien à dire. Il ne reste plus beaucoup de temps, finalement. Tu fais peut-être bien, pour l’instant, de mettre tes histoires de côté et de tenter d’examiner les sensations qui te viennent de vivre dans ce corps depuis le premier jour où tu te sou- viens de t’être senti vivant jusqu’à aujourd’hui. Un catalogue de données sensorielles. Ce qu’on pour- rait appeler une phénoménologie de la respiration. Extrait de la publication Tu crois que ça ne t’arrivera jamais, que ça ne peut pas t’arriver, que tu es la seule personne au monde à qui aucune de ces choses n’arrivera jamais, et pour- tant, l’une après l’autre, elles se mettent toutes à t’ar- river, exactement comme à tout le monde. Tes pieds nus sur le sol froid au moment où tu sors du lit et vas jusqu’à la fenêtre. Tu as six ans. Dehors, la neige tombe et les branches de l’arbre dans le jardin derrière la maison sont en train de devenir blanches. Parle tout de suite avant qu’il ne soit trop tard, et puis espère pouvoir continuer à parler jusqu’à ce qu’il n’y ait plus rien à dire. Il ne reste plus beaucoup de temps, finalement. Tu fais peut-être bien, pour l’instant, de mettre tes histoires de côté et de tenter d’examiner les sensations qui te viennent de vivre dans ce corps depuis le premier jour où tu te sou- viens de t’être senti vivant jusqu’à aujourd’hui. Un catalogue de données sensorielles. Ce qu’on pour- rait appeler une phénoménologie de la respiration. 7 Tu as dix ans, et l’air, en ce milieu d’été, est chaud, d’une chaleur oppressante, tellement humide et inconfortable que, même lorsque tu es assis à l’ombre des arbres du jardin derrière la maison, la sueur perle sur ton front. C’est un fait incontestable : tu n’es plus jeune. Dans un mois exactement, tu auras soixante-quatre ans, et bien que ce ne soit pas un âge terriblement avancé – pas ce qu’on considère normalement comme le grand âge –, tu ne peux t’empêcher de penser à tous ceux qui n’ont pas réussi à parvenir aussi loin que toi. C’est là un exemple de ces diverses choses qui ne pouvaient pas arriver et qui, de fait, sont arrivées. Le vent contre ton visage quand le blizzard souf- flait, la semaine dernière. L’atroce brûlure du froid, et toi, là, dans les rues vides, à te demander ce qui t’avait pris de sortir de chez toi dans une tempête aussi déchaînée, et pourtant, alors même que tu lut- tais pour ne pas perdre l’équilibre, tu sentais l’eu- phorie de ce vent, la joie de voir des rues familières changées en une masse confuse de neige blanche tourbillonnante. Plaisirs physiques et douleurs physiques. D’abord et surtout des plaisirs sexuels, mais aussi celui de man- ger et de boire, de rester nu dans un bain chaud, de gratter un endroit qui démange, d’éternuer et de péter, de passer une heure de plus au lit, de lever le visage vers le soleil par un doux après-midi de fin de printemps ou de début d’été et de sentir la cha- leur s’installer sur ta peau. Les exemples en sont innombrables, il ne s’écoule pas un jour sans un ou 8 Extrait de la publication plusieurs moments de plaisir physique, et pourtant les douleurs sont assurément plus longues à passer et plus réfractaires : à un moment ou un autre, prati- quement toutes les parties de ton corps ont subi une agression. Les yeux et les oreilles, la tête et le cou, les épaules et le dos, les bras et les jambes, la gorge et l’estomac, les chevilles et les pieds, sans même men- tionner l’énorme furoncle un jour surgi sur ta fesse gauche, que ton médecin avait gratifié du nom de tanne, lequel, à tes oreilles, renvoyait à quelque mal médiéval et t’avait empêché pendant une semaine de t’asseoir sur des chaises. La proximité de ton petit corps avec le sol – ce corps qui était le tien quand tu avais trois et quatre ans –, c’est-à-dire le peu de distance entre tes pieds et ta tête, et la manière dont les choses que tu ne remarques plus maintenant constituaient alors pour toi une présence constante, un objet de préoccupa- tion : le petit univers des fourmis qui rampent et des pièces de monnaie perdues, des brindilles tom- bées par terre et des capsules de bouteille tordues, des feuilles de pissenlit et de trèfle. Mais surtout les fourmis. Ce sont elles dont tu te souviens le mieux. Des armées de fourmis qui défilent pour entrer et sortir de leurs collines poudreuses.
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